Variation II
The Victorious Battle against the Host of the Great Emperor Alifanfaron. “Warlike,” D major, 4-4. There is a cloud of dust; surely a great army approaches; the Knight rushes to fight, in spite of the warnings of Sancho, who sees the sheep. There is a pastoral figure (wood-wind), and out of the dust cloud (strings) comes a chorus of “Ba-a-a-a” (muted brass). Don Quixote charges and puts the foes to confusion.
Variation III
The Dialogues of the Knight and the Squire. Moderato, 4-4. Sancho questions the worth of such a life. Don Quixote speaks of honor and glory (first theme), but Sancho sees nothing in them. The dispute waxes hot. Don Quixote speaks nobly of the ideal. Sancho prefers the easy, comfortable realities of life. At last his master is angry and bids him hold his tongue.
Variation IV
The Adventure with the Penitents. “Somewhat broader,” D minor, 4-4. A church theme (wind instruments) announces the approach of a band of pilgrims. Don Quixote sees in them shameless robbers, desperate villains. He attacks them. They knock him senseless and go on their prayerful way. Sancho, sorely disturbed, rejoices when his master shows signs of life, and after he has helped him, lies down by his side and goes to sleep (bass tuba, double bassoon).
Variation V
The Knight’s Vigil. “Very slow,” 4-4. Don Quixote, ashamed to sleep, holds watch by his armor. Dulcinea, answering his prayers, appears in a vision (the “Ideal Woman” theme, horn). A cadenza for harp and violins leads to a passage portraying his rapture.
Variation VI
The Meeting with Dulcinea. G major, 2-4, 3-4. A common country wench comes along (wood-wind, tambourine), and Sancho by way of jest points her out to his master as Dulcinea. The Knight cannot believe it. Sancho swears it is so. The Knight suddenly knows that some magic has worked this transformation, and he vows vengeance.